With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.
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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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Last night, the 18th Annual Screen Actor's Guild Awards broadcast, celebrating excellence in the performance of those harshly unappreciated figures of the film and television industry: actors. Following the pattern of award shows so far this year, SAG recognized The Help cast members, specifically Viola Davis and Octavia Spencer, as outstanding performances among those of 2011. In terms of television, a couple of big wins came in for Boardwalk Empire, while actors from Modern Family, 30 Rock and Mildred Pierce were also recognized.
Movies
Outstanding Performance By A Cast In A Motion Picture
The Help [Nominees: Bridesmaids, The Artist, The Descendants, Midnight in Paris]
Outstanding Performance By A Male Actor In A Leading Role
Jean Dujardin—The Artist [Nominees: George Clooney—The Descendants, Demian Bichir—A Better Life, Leonardo DiCaprio—J. Edgar, Brad Pitt—Moneyball]
Outstanding Performance By A Female Actor In A Leading Role Viola Davis—The Help [Nominees: Michelle Williams—My Week With Marilyn, Glenn Close—Albert Nobbs, Meryl Streep—The Iron Lady, Tilda Swinton—We Need to Talk About Kevin]
Outstanding Performance By A Male Actor In A Supporting Role Christopher Plummer—Beginners, [Nominees: Nick Nolte—Warrior, Kenneth Branagh—My Week With Marilyn, Armie Hammer—J. Edgar, Jonah Hill—Moneyball]
Outstanding Performance By A Female Actor In A Supporting Role
Octavia Spencer—The Help [Nominees: Berenice Bejo—The Artist, Jessica Chastain—The Help, Melissa McCarthy—Bridesmaids, Janet McTeer—Albert Nobbs]
Outstanding Performance By A Stunt Ensemble In A Motion Picture
Harry Potter and the Deathly Hallows, Part 2 [Nominees: The Adjustment Bureau, Cowboys &amp; Aliens, Transformers: Dark of the Moon, X-Men: First Class]
Television
Outstanding Performance By A Male Actor In A Television Movie Or Miniseries Paul Giamatti—Too Big to Fail [Nominees: Laurence Fishburne—Thurgood, Greg Kinnear—The Kennedys, Guy Pearce—Mildred Pierce, James Woods—Too Big to Fail]
Outstanding Performance By A Female Actor In A Television Movie Or Miniseries Kate Winslet—Mildred Pierce [Nominees: Diane Lane—Cinema Verite, Maggie Smith—Downton Abbey, Emily Watson—Appropriate Adult, Betty White—The Lost Valentine]
Outstanding Performance By A Male Actor In A Drama Series
Steve Buscemi—Boardwalk Empire [Nominees: Patrick J. Adams—Suits, Kyle Chandler—Friday Night Lights, Bryan Cranston—Breaking Bad, Michael C. Hall—Dexter]
Outstanding Performance By A Female Actor In A Drama Series Jessica Lange—American Horror Story [Nominees: Kathy Bates—Harry’s Law, Glenn Close—Damages, Julianna Margules—The Good Wife, Kyra Sedgwick—The Closer]
Outstanding Performance By A Male Actor In A Comedy Series Alec Baldwin—30 Rock [Nominees: Ty Burrell—Modern Family, Steve Carell—The Office, Jon Cryer—Two and a Half Men, Eric Stonestreet—Modern Family]
Outstanding Performance By A Female Actor In A Comedy Series Betty White—Hot In Cleveland [Nominees: Julie Bowen—Modern Family, Edie Falco—Nurse Jackie, Tina Fey—30 Rock, Sofia Vergara—Modern Family]
Outstanding Performance By An Ensemble In A Drama Series
Boardwalk Empire [Nominees: Breaking Bad, Dexter, Game of Thrones, The Good Wife]
Outstanding Performance By An Ensemble In A Comedy Series Modern Family [Nominees: 30 Rock, The Big Bang Theory, Glee, The Office]
Outstanding Performance By A Stunt Ensemble In A Television Series Game of Thrones [Nominees: Dexter, Southland, Spartacus: Gods of the Arena, True Blood]

The movie will compete for the coveted Outstanding Performance by a Cast in a Motion Picture prize, alongside The Artist, Bridesmaids, The Descendants and Midnight in Paris.
The film also earned nods in the Outstanding Performance by a Female Actor in a Leading Role category for Viola Davis, as well as Outstanding Performance by a Female Actor in a Supporting Role thanks to Jessica Chastain and Octavia Spencer.
Trailing with three nominations was silent film The Artist and receiving two mentions each was The Descendants, J. Edgar, My Week With Marilyn, Bridesmaids, Albert Nobbs and Brad Pitt's Moneyball.
The nominations were announced on Wednesday (14Dec11) by guest presenters Regina King and Judy Greer, and the prizegiving ceremony will take place on 29 January (12).
The main list of nominees for the 18th Annual SAG Awards is as follows:
Outstanding Performance by a Cast in a Motion Picture:
The Artist
Bridesmaids
The Descendants
The Help
Midnight in Paris
Outstanding Performance by a Male Actor in a Leading Role:
Demian Bichir - A Better Life
George Clooney - The Descendants
Leonardo DiCaprio - J. Edgar
Jean Dujardin - The Artist
Brad Pitt - Moneyball
Outstanding Performance by a Female Actor in a Leading Role:
Glenn Close - Albert Nobbs
Viola Davis - The Help
Meryl Streep - The Iron Lady
Tilda Swinton - We Need to Talk About Kevin
Michelle Williams - My Week With Marilyn
Outstanding Performance by a Male Actor in a Supporting Role:
Kenneth Branagh - My Week With Marilyn
Armie Hammer - J. Edgar
Jonah Hill - Moneyball
Nick Nolte - Warrior
Christopher Plummer - Beginners
Outstanding Performance by a Female Actor in a Supporting Role:
Berenice Bejo - The Artist
Jessica Chastain - The Help
Melissa McCarthy - Bridesmaids
Janet McTeer - Albert Nobbs
Octavia Spencer - The Help
Outstanding Performance by a Male Actor in a Television Movie or Miniseries:
Laurence Fishburne - Thurgood
Paul Giamatti - Too Big to Fail
Greg Kinnear - The Kennedys
Guy Pearce - Mildred Pierce
James Woods - Too Big to Fail
Outstanding Performance by a Female Actor in a Television Movie or Miniseries:
Diane Lane - Cinema Verite
Maggie Smith - Downton Abbey
Emily Watson - Appropriate Adult
Betty White - Hallmark Hall of Fame: The Lost Valentine
Kate Winslet - Mildred Pierce
Outstanding Performance by a Male Actor in a Drama Series:
Patrick J. Adams - Suits
Steve Buscemi - Boardwalk Empire
Kyle Chandler - Friday Night Lights
Bryan Cranston - Breaking Bad
Michael C. Hall - Dexter
Outstanding Performance by a Female Actor in a Drama Series:
Kathy Bates - Harry's Law
Glenn Close - Damages
Jessica Lange - American Horror Story
Julianna Margulies - The Good Wife
Kyra Sedgwick - The Closer
Outstanding Performance by a Male Actor in a Comedy Series:
Alec Baldwin - 30 Rock
Ty Burrell - Modern Family
Steve Carrell - The Office
Jon Cryer - Two and a Half Men
Eric Stonestreet - Modern Family
Outstanding Performance by a Female Actor in a Comedy Series:
Julie Bowen - Modern Family
Eddie Falco - Nurse Jackie
Tina Fey - 30 Rock
Sofia Vergara - Modern Family
Betty White - Hot in Cleveland
Outstanding Performance by an Ensemble in a Drama Series:
Boardwalk Empire
Breaking Bad
Dexter
Game of Thrones
The Good Wife
Outstanding Performance by an Ensemble in a Comedy Series:
30 Rock
The Big Bang Theory
Glee
Modern Family
The Office

It was a disappointing weekend for Star Trek fans as they saw the 10th installment of their favorite franchise defeated at the box office by J. Lo's new romantic comedy, Maid in Manhattan, which cleaned up with a sparkling $19 million.
Star Trek: Nemesis was flying in second place at less than warp speed with $18.8 million.
Drumline marched into third place with a high energy $13.1 million.
The Hot Chick opened with a not-so-hot $7.5 million in a fourth place tie.
Die Another Day showed good legs, tying for fourth with $7.5 million. With its cume now at $131.6 million, Die is now the biggest grossing Bond film ever in domestic theaters.
The weekend also saw an impressive platform release start for New Line's drama-comedy About Schmidt, which won best picture in the Los Angeles Film Critics' vote Saturday. The Alexander Payne film grossed about $283,000 at 6 theaters, averaging an enviable $47,167 per theater. (For details and comments by New Line Distribution president David Tuckerman see OTHER OPENINGS below.)
Key films grossed $98.5 million, up nearly 13 percent from this weekend last year when they did $87.5 million.
THE TOP TEN
Revolution Studios and Columbia Pictures' PG-13 rated romantic comedy Maid in Manhattan opened to a chart topping ESTIMATED $19.0 million at 2,838 theaters ($6,695 per theater).
Directed by Wayne Wang, Maid stars Jennifer Lopez and Ralph Fiennes.
"It is Jennifer's biggest (opening)," Sony Pictures Entertainment vice chairman Jeff Blake said Sunday morning.
"The Cell was $17.5 million (when it) opened Aug. 18, 2000. The demographics of the picture were about 60-40, female to male. The key to the success was the wide spread of ages. It was just about 50-50 over and under 25. I think all ages are looking at this as a picture for them and that is, perhaps, a combination of younger fans of Jennifer's and also that the movie, itself, is a real package that's a strong romantic comedy with a great cast (in addition to Lopez) with Ralph Fiennes, Natasha Richardson and Bob Hoskins. So it's certainly not just all on Jennifer's shoulders although they're very lovely shoulders to be on."
Focusing on why Maid did so well, Blake observed, "I think it's a story that people can identify with. We're thrilled with the placement because it seems for the holidays this is the kind of picture that could be the mutual choice of the entire family. It just is such an enjoyable, identifiable story.
"Normally, (when) you get a romantic comedy that gets a good start right before the holiday season, it can do five or six times its opening (weekend gross). So that certainly was what happened to pictures like Jerry Maguire and some others that have debuted prior to the holiday like Miss Congeniality. We certainly would love to see the same thing happen to us. We go into the holiday period in a pretty strong position and, obviously, being number one we couldn't have asked for a better start."
Blake also was pleased with how well Columbia and Intermedia Films' R rated Oscar contender Adaptation held up in its second weekend of platform release. Continuing at seven theaters, Adaptation grossed an ESTIMATED $274,000, averaging $39,150 and down only 29 percent from its opening weekend. Its cume is approximately $855,000.
Directed by Spike Jonze, it stars Nicolas Cage, Meryl Streep and Chris Cooper.
"We're adding approximately 100 screens on Friday (Dec. 20) and then expanding again on Jan. 10," Blake said. "We got an L.A. Film Critics award last night (for Chris Cooper for supporting actor and a runner-up screenplay award for Charlie Kaufman and Donald Kaufman) and we hope the good news keeps coming."
Paramount's PG-13 rated sci-fi franchise episode Star Trek: Nemesis, which insiders had expected to see orbiting atop the chart, opened a close number two with an ESTIMATED $18.75 million at 2,711 theaters ($6,916 per theater).
Directed by Stuart Baird it stars Patrick Stewart, Jonathan Frakes, Brent Spiner, Levar Burton and Michael Dorn.
The series' previous episode, Star Trek: Insurrection, blasted off the weekend of Dec. 11 to 13, 1998 in first place to $22.05 million at 2,620 theaters ($8,417 per theater). It grossed about $70 million in domestic theaters.
"Obviously, we would have liked to have had a little more opening (gross)," Paramount distribution president Wayne Lewellen said Sunday morning. "But the picture plays very well. We know that from our research screenings. And we've got the holidays in front of us. The biggest Star Trek ever was number four, which did like $110 million and it only opened to $17 million."
Twentieth Century Fox's PG-13 rated urban appeal hip-hop comedy drama Drumline took the field in third place to a surprisingly strong ESTIMATED $13.05 million at 1,833 theaters ($7,119 per theater).
Drumline's average per theater was the highest for any film playing in wide release this weekend.
Directed by Charles Stone III, it stars Nick Cannon, Zoe Saldana and Orlando Jones.
"It went up 30 percent from Friday to Saturday, which was the biggest bump of any of these first-weekers and that's a pretty good bump for a first weekend," Fox distribution president Bruce Snyder said Sunday morning. "We did a lot of matinee business Saturday and it's terrific. It's a great start and I think we're going to have a hell of a run right through the holidays."
In terms of opening weekend demographics, Snyder noted, "It was 60-40 African-Americans and non-African-Americans. That 40 percent is a pretty high place to start (in terms of crossover audience). So it's very encouraging. It's very high (crossover) for a first weekend. Usually, that doesn't happen until the third or fourth weekend on these primarily African-American movies. And 60 percent were under 25, so it's playing young."
As for why it's doing so well, Snyder pointed out, "From the CinemaScores, people loved it. It got straight A-pluses. The material grabbed people. The hip-hop element plays to all kids. And I think it's now in the culture. It's a little bit of everything -- music, dance, comedy, drama. It's fun.
"It looks like the theater count was pretty right. And it's where it belonged -- before Christmas. I think it's going to be great for all young people right on through the holidays."
Buena Vista/Touchstone Pictures' PG-13 rated comedy The Hot Chick opened with less heat than hoped for in a fourth place tie with an ESTIMATED $7.5 million at 2,217 theaters ($3,370 per theater).
Directed by Tom Brady, it stars Rob Schneider.
"When I looked at the CinemaScores for all four pictures (that opened) this weekend, they all really scored well," BV distribution president Chuck Viane said Sunday morning. "I think what's happened is, you have four choices on a weekend and you can only be first choice for so many people. I think with these scores and the very good news with us going up 17 percent last night (Saturday versus Friday) and some of the movies not going forward, it bodes well among our audience that we've got the whole holiday ahead of us."
Looking at the CinemaScores, Viane observed, "Hot Chick has two A's and four B-pluses. Maid in Manhattan has two A's and four B-pluses. And Star Trek has four A's and two B-pluses. Drumline has six A-pluses. It's impressive) when you think all of these movies scored that well. It's tough. There's no question. Every Friday when you're opening up against three or four pictures -- in the old days, it was you and one other (film) all the time, today you go up against three or four -- you really have to place your films well so that you can get to your intended audience during a period of time.
"Thankfully, today is Dec. 15 and we have about two and a half consecutive weeks of really strong play time ahead of us. All the way through Jan. 3 everything is very positive for everybody in the marketplace. If the audiences like it as much as this, then you definitely have your future ahead of you."
MGM and United Artists' PG-13 rated James Bond thriller Die Another Day slid three slots to tie for fourth place in its fourth week with a solid ESTIMATED $7.5 million (-42%) at 3,377 theaters (+30 theaters; $2,221 per theater). Its cume is approximately $131.6 million, heading for $165-175 million in domestic theaters.
Directed by Lee Tamahori and produced by Michael G. Wilson and Barbara Broccoli, it stars Pierce Brosnan and Halle Berry.
The last Bond film, 1999's The World Is Not Enough, grossed $126.9 million in domestic theaters and $225.1 million in international theaters for a worldwide total of $352 million.
"It's now the biggest domestic grossing Bond ever," MGM senior vice president, publicity Eric Kops said Sunday morning.
Warner Bros.' PG rated sequel Harry Potter and the Chamber of Secrets fell three pegs to sixth place in its fifth week, holding nicely with an ESTIMATED $6.15 million (-39%) at 3,025 theaters (-362 theaters; $2,033 per theater). Its cume is approximately $222.4 million, heading for $275 million in domestic theaters.
Directed by Chris Columbus, it stars Daniel Radcliffe, Rupert Grint and Emma Watson.
Warner Bros. and Village Roadshow Pictures and NPV Entertainment's R rated comedy sequel Analyze That plunged five notches to seventh place in its second week with a weak ESTIMATED $5.32 million (-52%) at 2,635 theaters (theater count unchanged; $2,017 per theater). Its cume is approximately $19.6 million.
Directed by Harold Ramis, it stars Robert De Niro, Billy Crystal and Lisa Kudrow.
The 1999 original film in the series, Analyze This, grossed $106.7 million in domestic theaters.
Buena Vista/Disney's G rated comedy sequel Santa Clause 2 fell three two rungs to eighth place in its seventh week, still holding decently with an ESTIMATED $4.0 million (-25%) at 2,207 theaters (-149 theaters; $1,814 per theater). Its cume is approximately $125.4 million, heading for $140 million in domestic theaters.
Directed by Michael Lembeck, it stars Tim Allen.
Buena Vista/Disney's PG rated animated sci-fi adventure Treasure Planet dropped four slots in its third week to ninth place with a dull ESTIMATED $3.0 million (-46%) at 2,192 theaters (-1,035 theaters; $1,370 per theater). Its cume is approximately $27.8 million.
Directed by John Musker &amp; Ron Clements, its screenplay is by Ron Clements &amp; John Musker.
Rounding out the Top Ten was Arenas Entertainment and Universal's R rated urban action film Empire, down six pegs in its second week with a quiet ESTIMATED $2.78 million (-56%) at 869 theaters (+2 theaters; $3,195 per theater). Its cume is approximately $10.7 million.
Written and directed by Franc Reyes, it stars John Leguizamo, Peter Sarsgaard and Denise Richards.
OTHER OPENINGS
This weekend also saw the arrival of New Line Cinema's R rated drama About Schmidt to an impressive ESTIMATED $283,000 at 6 theaters in New York, Los Angeles and Omaha (where much of the film was shot), averaging a hefty $47,167 per theater.
Directed by Alexander Payne, it stars Jack Nicholson.
Schmidt was honored Saturday night by the L.A. Film Critics as best picture. Nicholson tied for best actor (with Daniel Day-Lewis for Miramax's Gangs of New York). Payne and Jim Taylor won best screenplay. Kathy Bates was the best supporting actress runner-up for Schmidt (with Edie Falco winning for Sony Pictures Classics' Sunshine State).
"What's interesting about the L.A. Critics is that over the last 28 years (for) 25 times whoever has won the L.A. Critics award has gone on to be nominated for the best picture Oscar," New Line distribution president David Tuckerman said Sunday morning.
"We're really pleased. Jack's been getting all these accolades and rightly so for his performance. But (there's also) Alexander Payne's direction and Kathy Bates' (performance). Kathy Bates' performance is a brave performance (with her already much talked about nude hot-tub scene). I think it's terrific that everybody's getting acknowledged. Ensemble's the wrong word to use when you have a Jack Nicholson picture, but we've got these other strong performances and the film. It's not just Jack."
Looking ahead, Tuckerman said, "The plan now is we're taking 17 exclusive runs in 17 cities on Friday, Dec. 20. On Jan. 3 we're going to roll it out to anywhere from 600 to 800 screens altogether."
New Line is in the enviable position of launching the second of its mega-blockbuster Lord of the Rings franchise this Wednesday (Dec. 18). With Lord of the Rings: The Two Towers, Tuckerman said, "We'll be (in) over 3,600 theaters and over 6,500 prints."
United Artists' PG rated drama Evelyn opened quietly via MGM in platform release to an ESTIMATED $72,000 at 15 theaters ($4,824 per theater).
Directed by Bruce Beresford, it stars Pierce Brosnan.
SNEAK PREVIEWS
Warner Bros. held 825 very successful sneak previews Saturday of its PG-13 rated romantic comedy Two Weeks Notice.
Written and directed by Marc Lawrence, it stars Sandra Bullock and Hugh Grant.
"We had great sneaks last night," Warner Bros. Distribution president Dan Fellman said Sunday morning. "We had 85 percent capacity. We don't do exits on the sneaks, but the reaction that we had through the EDI service (which asks theater managers for details) was that the picture played extremely well."
Notice opens Friday (Dec. 20) at about 2,700 theaters.
EXPANSIONS
On the expansion front this weekend Samuel Goldwyn Films' R rated drama El Crimen del Padre Amaro went wider in is fifth week with a slow ESTIMATED $0.3 million (-34%) at 127 theaters (+5 theaters; $2,105 per theater). Its cume is approximately $3.5 million.
Directed by Carlos Carrera, it stars Gael Garcia Bernal and is the official Mexican entry in this year's best foreign language film Oscar race.
WEEKEND COMPARISONS
Key films -- those grossing more than $500,000 -- took in approximately $98.55 million this weekend, up about 12.65 percent from last year when they totaled $87.48 million.
Key films were up about 28.34 percent from last weekend of this year when they totaled $76.79 million.
Last year, Paramount's opening week of Vanilla Sky was first with $25.02 million at 2,742 theaters ($9,123 per theater); and Warner Bros.' second week of Ocean's Eleven was second with $22.08 million at 3,075 theaters ($7,179 per theater). The top two films one year ago grossed $47.1 million. This year, the top two films grossed an ESTIMATED $37.8 million.